I hope I may dispense with the ritual of an introduction and plunge
in medias res
with the aid of my first illustration, an anti-war poster of 1924 by the German expressionist artist Kaethe Kollwitz (figure 1, plate 14). It shows the various aspects of gesture and expression I should like to single out for discussion. The young man on the poster surely exhibits those symptoms of mass emotion that Konrad Lorenz has recently analysed so convincingly in the penultimate chapter of his book on aggression (Lorenz 1963), the heightened tonus, the rigid posture, the raised head with the forward thrust of the chin, even the bristling hair, all the physical reactions that accompany the emotion of mass enthusiasm or
Begeisterung
. If we retain the term
symptom
for these visible signs the artist has here represented, we may use the term
symbol
for the other kind of visible sign, the gesture of the hand with its two outstretched fingers which conventionally accompanies the swearing of an oath in central Europe, a ritual in the narrow cultural sense of the term. If natural symptom and conventional symbol can be seen as the two extremes of a spectrum (Gombrich 1963
b
) we would, I believe, have to place the gesture the young man performs with his left hand somewhere in between these extremes.